¬ü°ê¤å¾Ç­º­¶   /   The 20th Century -- Second Half ¤G¤Q¥@¬ö -- «á¥b  /  §@®a  /  Sam  Shepard  ¤s©i¡EÁ§´¶
Sam  Shepard
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Sam Shepard
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May Su/Ĭ¤l´f
 
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  ¤@¤E¥|¤T¦~¤Q¤@¤ë¤­¤é¡A¥»¦W¤sÂÕ¡EÁ´¶¡Eù³Ç´µ¡]Samuel Shepard Rogers¡^ªº¤s©i¡EÁ´¶¦b¬ü°ê¥ì§Q¿Õ¦{ Á£·çµn³ù¡]Fort Sheridan¡^¥X¥Í¡A¥Ñ©ó¤÷¿Ë¬O¾·~­x¤H ¡A¥L¦Û¤p«K²ß©ó¾E±p­x¶¤°ò¦a¤§¶¡¡A¬Æ¦Ü´¿»·­u¦è¤Ó¥­¬vÃö®q¡]Guam¡^¡C¥Lªº¥À¿Ë¥ì½¬¡E¥v®w§J¡Eù³Ç´µ¡]Elaine Schook Rogers¡^¬OªÛ¥[­ô¤H¡A¸òÀH±q­xªº¤V¤Ò¤s©i¡Eù³Ç´µ¡]Sam Rogers¡^¾n²Ï¦U°ò¦a¡Aª½¨ì¥L°h§Ð¬°¤î¡C«á¨Óù³Ç´µ¤@®a©w©~¥[¦{¡A¦b§ù¥Ë¸¦¥«¡]Duarte¡^¸¨¸}¡A¾aºØ´Ó Æs±ù©M©ñ¦Ïºû¥Í¡C¦b³o¬q´Á¶¡¡A Á´¶²`²`·R¤W¤Fªª³õ¥Í¬¡¡A¼Ö©ó»P°¨¤Ç¥H¤Î¨ä¥L°Êª«¬°¥î¡C

´NŪ°ª¤¤«áªºÁ´¶¹ï½Ò·~¿³½ì¯Ê¯Ê¡A¤Ï¦Ó°ö¾i¤FŪ¸Ö©M¥´¹ªªº¶Ý¦n¡A¨ä¤¤ ·Rº¸Äõ§@®a¤sÂÕ¡E¨©§J¯S¡]Samuel Beckett¡A1906 ¡ã 1989¦~¡^ªº¼@§@¡mµ¥«ÝªGªû¡n¡]Waiting for Godot¡^§ó¶}±Ò¥L¦­¦~¹ï¤å¾Çªº·R¦n¡A¯îÂÕ¥D¸q¤]²`²`¼vÅT¤F¥L¦­´Áªº¼@§@¡C Á´¶ ªº¤÷¿Ë¨I°g©ó ¨f¦èÄõÀï¤h¼Ö¡]Dixieland jazz¡^¡A¦³¤÷­Y¦¹¡AÁ´¶¤]¶}©l¾Ç²ß¥´¹ª¡A³þ©w²×¥Í¹ï·nºu¼Ö¤£´üªº¼ö·R¡C¤@¤E¤»¡³¦~Á´¶¦ÛÁ£·çµn°ª¤¤²¦·~¡A¶i¤J¸t¦wªF¥§¶ø±M¬ì¾Ç®Õ¡]San Antonio Junior College¡^©À¹A·~¨t¡A¤@¦~«á¦]¤÷¿Ë³¤°s¾É­P®a®x¥¢©M¡AÁ´¶±Û§Y¥[¤J¡u²¦®L´¶¼@¹Î¡v¡]Bishop's Company¡^¨µ°jºt¥X¡A¾¨ºÞ¥¿¦¡µn¥x¥u¦³µuµu¼Æ¤ë¡A¥L¤Q¤E·³¨º¦~¤´¨M©w­u¯Ã¬ùÂô¤Ñ¤U¡C

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  ¤@¤E¤»¤T¦~Á´¶©è¹F¯Ã¬ù¡A´­±ó¥»¦W¡u¥v¸¦¤Ò¡Eù³Ç´µ¡v¡]Steve Rogers¡^¡A§ï¦¨²³©Ò¼ôª¾ªº¡u¤s©i¡EÁ´¶¡v¡]Sam Shepard¡^¡C¥L©MµÛ¦W¶Â¤HÀï¤h¼Ö¤â¤§¤l ¢w¢w ¤p ¬dº¸´µ¡E©ú®æ´µ ¡]Charlie Mingus Jr.¡^¦P¬°«Ç¤Í¡A«áªÌ¬OÁ´¶°ª¤¤¦Pµ¡¡A´À¥L¿Ñ±o¤@¥÷¡u§øªù¡v¡]The Village Gate¡^­Ñ¼Ö³¡®t¨Æ¡CÁ´¶¦b­Ñ¼Ö³¡¥´¤u®É¡Aµ²ÃÑ ¥~¥~¦Ê¦Ñ¶×¡u³Ð¥@¬ö¡v¼@¹Î¡]Off-Off-Broadway's Theatre Genesis¡^­t³d¤H ©Ôº¸¤Ò¡E®w§J¡]Ralph Cook¡^¡A®w§J¹ªÀy¥L±ó¸Ö¼g¼@¥»¡AÁ´¶¦]¦Ó§¹¦¨¤GÄÕ¿W¹õ¼@¡]one-act play¡^¡G¡m¤û¥J­Ì¡n¡]Cowboys¡A1964¦~¡^©M¡m©¥¥Ûªá¶é¡n¡]The Rock Garden¡A1964¦~¡^¡A§¡¥Ñ ¡u³Ð¥@¬ö¡v¼@¹Î ¦b¸t°¨§J±Ð°ó¡]Saint Mark Church¡^¤½ºt¡C¡m¤û¥J­Ì¡n¬OÁ´¶ªº³B¤k¦Û¶Ç¼@§@¡A²`Àò¡m¶m§ø¤§Án¡n¡]The Village Voice¡^Âø»x¦nµû¡AÁ´¶¨ü¦¹¿EÀy«á¶}©l¤j¶q³Ð§@¿W¹õ¼@¡A¬Ò¥Ñ«D¥D¬y ¼@¹Î¾áºõºt¥X¡A¥[¤W¥L¹ïÀï¤h»P·nºu¼Öªº¼ö±¡¤£´î¡A¦b§@«~¹ï¥Õ¤¤¤]´|¦X¤F­µ¼Ö¸`©ç©M§Y¿³Àï¤h¼Ö¡C

¤@¤E¤»¤­¦~¦Ü¤@¤E¤»¤»¦~¶¡¡AÁ´¶¥H¡mªÛ¥[­ô¡n¡]Chicago¡A1965¦~¡^¡B¡m¥ì¥d¾|´µ¤§¥À¡n¡]Icarus's Mother¡A1965¦~¡^¤Î¡m¬õ¤Q¦r¡n¡]Red Cross¡A1966¦~¡^µ¥¼@³°ÄòÀò¹{¡m¶m§ø¤§Án¡nÂø»xªº¼Ú¤ñ¼ú¡]Obie award¡^¡C¥Lªº²Ä¤@ÄÕ¥þ¹õ¼@¡]full-length play¡^¡mÆ[¥ú«È¡n¡]La Turista¡A1967¦~¡^±Ô­z¤@¹ï¤Ò°ü¦b«e©¹¾¥¦è­ôªº®È³~¤¤¡A²`¬°¸z¯f©Ò­W¡CÁ´¶¦b³o¬q´Á¶¡µ²ÃѤF§@®aº[¾Éºt¬ù·æ¤Ò¡E¬dª÷¡]Joseph Chaikin¡^¡A¥L­Ç¦b¤C¡³©M¤K¡³¦~¥N¦X§@µL¶¡¡A·nºuºq¤â¬£¸¦¡E¥v±K´µ¡]Patti Smith¡^¤]¬OÁ´¶¥t¤@¦W¦@¨Æªº¹ï¶H¡A¤G¤HÃмgªº·nºuºq¼@¡m¤û¥Jªº¼L¤Ú¡n¡]Cowboy Mouth¡A1971¦~¡^¦bĬ®æÄõ·R¤B³ù¡]Edinburgh¡^­ººt¡A¾¨ºÞ¦P¦~¤Wºtªº¡mºÆª¯ÂŽաn¡]The Mad Dog Blues¡A1971¦~¡^²`Àò¦nµû¡AÁ´¶¤´¨M·N»·Â÷¯Ã¬ù¡AÁ|®a¾E¦Ü­^°ê©w©~¨´¤@¤E¤C¥|¦~¬°¤î¡C

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Sam Shepard
1943-
American playwright, writer and actor
May Su/Ĭ¤l´f
 
 
Family Background
 
  Sam Shepard was born under the name Samuel Shepard Rogers on November 5, 1943 in Fort Sheridan, Illinois. As the son of a career army officer, Shepard spent his childhood moving from base to base in the United States and even in Guam. Shepard's mother, Elaine Schook Rogers, was born in Chicago. When Sam Rogers, Sr. was still in the army, Elaine moved around between various army bases, until he retired from the service. The family eventually settled in California, where they grew avocados and raised sheep in Duarte. Shepard liked the atmosphere of the ranch and enjoyed working with horses and other animals.

At high school, Shepard took little interest in his classes, but read poetry and played drums instead. Samuel Beckett's play Waiting for Godot, which he read as a teenager, was a revelation for him. Shepard's early plays especially showed absurdist influence. Also, influenced by his father's interest in Dixieland jazz, Shepard began to play drums and started his lifelong involvement with rock-and-roll music. He graduated from Duarte High School in 1960 and spent one year studying agriculture at San Antonio Junior College, but his family situation deteriorated as his father descended into alcoholism. Shepard fled by joining a touring repertory group called the Bishop's Company. At age nineteen, he determined to seek his fortune in New York with only a few months of professional acting experience.

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New York Career
 
  In 1963, Shepard arrived in New York, where he changed his name from Steve Rogers to Sam Shepard. Shepard lived with the son of the renowned jazz musician, Charlie Mingus Jr., who had also grown up in Duarte. Mingus found Shepard a job at the jazz club, The Village Gate. While working at the club, Shepard met Ralph Cook, founder of Off-Off-Broadway's Theatre Genesis. Cook encouraged Shepard to write plays instead of poetry, and Shepard produced two one-act plays Cowboys (1964) and The Rock Garden (1964) staged in Theatre Genesis at Saint Mark Church in-the-Bowery. His first autobiographical play Cowboys received good review in The Village Voice. Shepard began to rapidly turn out one-act pieces which were performed in Off-Off-Broadway theatres. He also continued his association with jazz and rock music, incorporating the rhythms into his dialogue and including musical riffs in the scripts.

From 1965 to 1966, Shepard won The Village Voice newspaper's Obie awards for his plays Chicago (1965), Icarus's Mother (1965) and Red Cross (1966). His first full-length play, La Turista (1967), is a comedy about a couple who fall prey to intestinal illness while vacationing in Mexico. During these years Shepard met the writer-director Joseph Chaikin, with whom he would collaborate in the seventies and eighties. And with the rock singer Patti Smith, Shepard collaborated on the rock opera Cowboy Mouth (1971), which was premiered in Edinburgh, Scotland. Despite the critical acclaim of Mad Dog Blues (1971), Shepard left New York and moved with his wife and son to England, where he lived until 1974.

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The Spirit of Rock
 
  Rock music plays an important role in Shepard's plays as well as in his general sense of aesthetics. He is a playwright, but he preferred to be a rock and roll star in the early 1970's. Shepard played drums for the experimental band, the Holy Modal Rounders, in the 1960's. The Rounders took traditional country blues music, such as the work of Charlie Poole, and performed it in an improvisational, often psychedelic avant-garde manner. This spirit of artistic daring was rife with Shepard's early plays, which frequently made use of rock bands on stage. The very act of mixing traditional, rural music with psychedelic, urban rock-and-roll appears to be a kind of template for the playwright's later approach to his career and to his art.

In 1975, Shepard was invited to tour with Bob Dylan and his Rolling Thunder Revue, a large band that included Joni Mitchell, Joan Baez, Allen Ginsberg and William Burroughs. Shepard was appointed to write a screenplay along the way, though the film was never produced. The opportunity provided Shepard, a long-time fan of the cult of Dylan, the rare and bizarre experience of writing the charismatic rock star. In 1987, Shepard published a book titled Rolling Thunder Logbook gives us a clear indication of Shepard's fascination with the rock star and self-made myth of Bob Dylan.

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“Image-Making Anxiety”
 
  Since the early seventies, Shepard has not only written plays but split his time between acting in, directing and writing films, as if no one medium could satisfy his far-ranging creativity. In 1978, Shepard made a big impression playing a wealthy landowner in Terrence Malick's Days of Heaven, but it was not until he received a Best Supporting Actor Oscar nomination for playing astronaut Chuck Yeager in Philip Kaufman's The Right Stuff (1983) that he became a well-known actor. Following this success, Shepard went on to specialize in playing drifters, cowboys, con artists and eccentric characters with only the occasional leading role. Some of his more notable works included Wim Wenders's Paris, Texas (1984) which he also wrote. Robert Altman's Fool For Love (1985) was adapted from his play of the same name. Shepard has also directed: in 1988, he made his debut with Far North, a film he wrote especially for his off-screen leading lady, Jessica Lange, with whom he has acted in Frances (1982), Country (1984), and Crimes of the Heart (1986).

In 1999, Shepard appeared in Snow Falling on Cedars and Dash and Lilly, a made-for-TV movie for which he won an Emmy nomination in the role of the titular Dashiell Hammett. Despite of his discomfort with the image, Shepard is assumed in a certain idol status. He does not like to be considered a screen celebrity; his attitude toward film work is ambivalent, and public scrutiny has made him a recluse. He told the media, “There's a definite fear about being diminished through film. It's very easy to do too much of it, to a point where you're lost. Image-making is really what film acting is about. It's image-making, as opposed to character-making, and in some cases it's not true.”

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Shepard's Women
 
  Shepard was previously married to actress O-Lan Johnson from 1969 to 1984, by whom he has one son, Jessie Mojo. He met Oscar-winning actress Jessica Lange on the set of a movie they both starred in, Frances. Toward the end of the 1970s, Shepard began movie acting, often with Jessica Lange. He left O-Lan Johnson in 1982 and moved in with Jessica Lange in 1983, and currently lives with her and their two children, Hannah Jane and Samuel Walker, in Manhattan.

Patti Smith met Shepard at the Village Gate, where he was playing drums with the Holy Modal Rounders. Shepard was only twenty-six at that time, but he had already written twenty plays, including La Turista and The Unseen Hand (1971), and he had won six Obie awards from The Village Voice. He encouraged Smith to do lyrics for his play The Mad Dog Blues, while she urged him to write the prose poems that later appeared in Hawk Moon (1972). Smith had no time to savor her success, for the relationship with Shepard had reached new heights of hysteria. The most accurate picture of their relationship is Cowboy Mouth, a play they wrote together in two nights. Smith's character, Cavale, is a deranged woman who kidnaps Slim from his wife and baby and attempts to turn him into a “rock-n'-roll Jesus with a cowboy mouth.” Slim accuses Cavale of ruining his life by continually tempting him with dreams of stardom. When Cowboy Mouth opened at the American Place Theater, Shepard and Smith starred in the play. But the merry-go-round of life was becoming too much for Shepard, and he left the show after a few performances to join the Holy Modal Rounders in Vermont. Not long afterward, Shepard took his wife and son with him to London, where he gave up drugs and distanced himself from the chaotic life in New York.

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London Career
 
  Shepard and his wife and son moved to London, where he lived until 1974. During this time he wrote several medium-length plays, that were successes on both sides of the Atlantic, for example, The Tooth of Crime (1972) and Geography of a Horse Dreamer (1974). The Tooth of Crime tells the story of two rock musicians, Hoss and Crow, whose battle for prominence in the music industry resembles the actions of gunfighters in the Old West. Language also plays a crucial part in the play, as Shepard employs urban slang, rock lyrics and other pop idioms in place of the conventional weapons of gunfighters.

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Major Works
 
  Shepard's residency at the Magic Theatre in San Francisco began a new stage in his career. The plays from this period typically focus on an artist's pursuit and struggles of identity and creative freedom. Suicide in B-Flat (1976) suggests the stifling of creativity in the life of a jazz musician, while Angel City (1976) satirizes the film industry and the corruption of young writers. Shepard's major plays of the late 1970s and 1980s are domestic dramas in which working-class families become victims of violence and guilt. Shepard uses the dissolution of a southern California family in Curse of the Starving Class (1976) to symbolize the demise of the Western frontier and American society in general. The Pulizer Prize-winning Buried Child (1979) unfolds a man named Vince returns to his midwestern home and confronts with a dangerously unbalanced cast of relatives who harbor secrets of incest and murder. True West (1980) highlights the struggle between the dual natures of two brothers, Austin and Lee. A Lie of the Mind (1986) continues Shepard's exploration of American families in emotional distress.

Shepard's plays dating from 1990 to 2000 continue his examination of the American family, the nature of father-son relationships, and the search for love and personal identity. In States of Shock (1991), a nameless American colonel and an amputee soldier arrive at a restaurant to celebrate the anniversary of the death of the colonel's son. Simpatico (1994) follows the tensions between two ex-partners, Vinnie and Carter, who once made a fortune by cheating in a horse race. After a pause of twenty years, Shepard directed his new play, The Late Henry Moss (2000) in San Francisco at the Magic Theatre, starring Nick Nolte, Sean Penn and James Gammon. In this play, two brothers return home to confront each other and their violent past after the unexpected death of their father. Shepard has published several collections of prose and poetry in addition to his plays.

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References


“Sam Shepard,” in Contemporary Authors Online. (A profile of the author's life and works)

“Sam Shepard,” in Contemporary Literary Criticism-Select. (A brief review of the author's life, works, and critical reception)

“Sam Shepard,” in Dictionary of Literary Biography, Volume 7: Twentieth-Century American Dramatists. A Bruccoli Clark Layman Book. Edited by John MacNicholas, University of South Carolina. The Gale Group, 1981, pp. 231-238.

“Sam Shepard,” in Dictionary of Literary Biography, Volume 212: Twentieth-Century American Western Writers, Second Series. A Bruccoli Clark Layman Book. Edited by Richard H. Cracroft, Brigham Young University. The Gale Group, 1999, pp. 259-268.


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